It was difficult to imagine who could possibly top Wu-Tang Clan’s performance at the Rock and Roll Hall of Fame induction on Saturday night at Los Angeles’ Peacock Theater. Following a spirited introduction from Chris Rock, all living members of the Staten
Island hip-hop group hit the stage to perform a medley of some of their biggest hits, including “C.R.E.A.M.” and “Ain’t Nuthing ta F’ Wit.” The audience was on its collective feet screaming “Wu-Tang! Wu-Tang!” repeatedly as the mighty crew wielded their lyrical swords.
But then came the Red Hot Chili Peppers, who were part of Rick Rubin’s induction. Cosplaying Rubin (who, after an incredibly theatrical induction speech by Neil Young, accepted his honor in shorts, sandals and rose-tinted sunglasses), Anthony Kiedis, John Frusciante, Flea and Chad Smith erupted into their Blood Sugar Sex Magik single “Give It Away” donning fake white beards. After a short technical issue with Flea’s instrument, the ever-limber bassist and Kiedis continued to somehow defy aging and rocked it like it was 1991.
The high octane performances kept coming at a dizzying pace. The speeches were long (sans Rubin) and it ran well over four hours. But as Wu-Tang Clan and Rubin joined fellow honorees Queen Latifah, New Order/Joy Division, MC Lyte, Billy Idol, Iron Maiden, Luther Vandross, Sade, Oasis, Phil Collins, Celia Cruz, Fela Kuti, Gram Parsons, Linda Creed, Arif Mardin and Jimmy Miller, the excitement of “what’s next” made time disappear.
Of course several inductees opted not to show up (Oasis, New Order’s Bernard Sumner, Gillian Gilbert and Stephen Morris, Sade and Iron Maiden) and some of them were being inducted posthumously, but the Rock Hall was still able to make the evening magical with surprise presenters and performances.
U2 opened the show with “Silencio,” the lead single from their latest album, Carnaval de Luz, and their 1984 hit “Pride (In the Name of Love).” Jack Black joined St. Vincent, Metallica’s Kirk Hammett and Robert Trujillo and Rage Against the Machine’s Brad Wilk for an Iron Maiden tribute. MC Lyte came out firing on all cylinders for “Boom! Shake the Room” before she was joined by Queen Latifah for “U.N.I.T.Y.” and “Ladies First” featuring Megan Thee Stallion and Remy Ma.
Usher sailed through Luther Vandross’ hits “So Amazing,” “Here and Now” and “Never Too Much” and blossoming British chanteuse Sienna Spiro had the nearly impossible task of covering Sade’s “Smooth Operator.” With her raspy vocals and slow, sensuous execution, it worked, though there was a sense nobody would have wanted to trade places with her.
Blink-182’s Travis Barker inducted the ailing Phil Collins. He talked about the immense impact Collins had on him as an aspiring drummer, saying, “He wasn’t just an incredible drummer. He was also a singer-songwriter and one of the biggest solo artists in the world. Songs like ‘Sussudio,’ ‘Take Me Home,’ ‘Easy Lover’ and ‘Against All Odds’ was the soundtrack to my childhood. And then there’s ‘In The Air Tonight,’ his first solo single with arguably the most badass drum fill of all time. You don’t even have to be a drummer to know that fill. When that part comes on, everybody plays air drums.”
With a cane and the aid of an assistant, Collins made his way to the stage and was greeted by a standing ovation. The 75-year-old appeared more feeble than anticipated, making the moment even more emotional. “I’m really not as bad as it looks,” he quipped. “I’m much better.”
Collins then gave a tearful speech about his life and career, saying, “I grew up just wanting to play the drums. Everything else has been a really happy accident. I can’t believe, when I look back, how life has gone.” He also addressed the whisperings of an upcoming tour. While he didn’t confirm it would (or even could happen), he did end with, “You haven’t heard the last of me yet. I can promise you that.” Collins was unable to perform, but Cynthia Erivo did her best rendition of “In the Air Tonight” with Barker behind the kit.
Oprah Winfrey was on deck to induct Vandross. She spoke about her personal connection to the singer, saying, “Luther always gave me great counsel and taught me a lot about what it means to live well. Used to tell me, ‘Girl, use all your good dishes for yourself.’ One of my favorite songs that I heard for the first time as I was leaving my studio in Chicago, really late one night, someone on my team had handed me a new cassette tape, and I put it in for the drive home.”
“Yes, it was the ’80s when cars had cassette tapes, and it was a brand-new Luther Vandross tape. And when his smash hit song ‘Power of Love’ came on, I was already almost at my front door. But I kept driving around the block, driving around the block, around the block to hear it over and over again. I love that song, still do.”
She compared listening to “Power of Love” as a “spiritual experience,” adding, “Luther Vandross was somebody who sang with such passion and soul; it could reach something deep inside that you didn’t even know was waiting to reach.”
It felt like déjà vu when Trent Reznor stepped up to the mic to induct Joy Division and New Order. Seven years ago, the Nine Inch Nails maestro welcomed the Cure into the esteemed Hall and admitted he’d been “ambivalent” about “certain award ceremonies.”
But there he was in his thick, black-rimmed glasses recounting the history of both bands. Moments later, Peter Hook stood alone at the podium without Sumner, Gilbert or Morris, making it painfully clear the band was unable to put their differences aside.
“Now I’m here and I realize how special it is,” Hook said. “It’s like being part of a family, which I’m delighted about. Now I’m on my own, but I’m not alone … it’s been a wild 50 years, and I’ve been happy, I’ve been mad and I’ve been heartbroken in equal measures. But I’m still fucking here.” Hook then picked up his bass and joined the Deftones and Chvrches’ Lauren Mayberry for “Love Will Tear Us Apart” and “Bizarre Love Triangle” with the same fervor he’s harnessed for decades.
The Oasis segment, however, was a sore spot. Liam and Noel Gallagher already declined the invitation, so their absence was expected. But Stephen Wilson Jr., a country artist with no ties to British rock whatsoever, performing “Wonderwall” almost felt like a slight to Oasis. Wilson knew it, too. Backstage in the press room, he was reminded that the Gallagher brothers will likely see the performance and there was a chance they’d roast him for it. He said he had “thick skin” and would be “honored” if he were to become the target of a Gallagher brothers’ joke, but coupled with the awkward introduction by Better Call Saul actor Bob Odenkirk (who satirized the Gallagher brothers’ “cheeky” attitudes for the HBO comedy series Mr. Show in the ‘90s), it seemed like Oasis’ absence was just too massive of a hole to fill.
That’s not to say the Rock Hall didn’t try: Billy Idol was ushered into the Hall by No Doubt’s Gwen Stefani and Tony Kanal. Stefani called Idol’s music a “time machine” and recalled listening to him in the early ‘80s. Idol’s speech didn’t fail to entertain either as he sometimes struggled to read the teleprompter.
“Rock ‘n’ roll says we can be heroes,” Idol said. “In my case I called myself Billy Idol so I could be my own hero.” He and longtime guitarist Steve Stevens proceeded to perform “Rebel Yell” and “Eyes Without a Face” as a duet with Stefani.
In the press room, Idol didn’t field any questions but posed for the cameras with his signature lip snarl and fist pumps, though Stevens spoke at length.
“Music is such a universal thing that I got the opportunity at some point to stay at Billy’s parents’ house and got to see his record collection, his adolescent William Broad record collection, and they were a lot of the same records that I grew up on,” Stevens said. “We’re roughly the same age, so it was David Bowie, T. Rex, Slade, Sweet Reed. We grew up [differently], but the music and things that inspired us were very much the same.”
Stevens also talked about his hopes for future generations of rock stars, saying, “There’s not that many true rock stars around to replace a Billy Idol. Hopefully, we’ll inspire people, and there’ll be another Steve Stevens … I’ve seen them on YouTube playing the solo for ‘Rebel Yell’ and sometimes playing it better than I can, so hopefully that’s the next generation. From what I understand, a lot of the record companies are looking at, you know, ‘Wow, we really have to develop artists again,’ because just having the numbers of viewers on TikTok or something is not a career.”
The crescendo of the evening came as Public Enemy’s Chuck D, with his inimitable and commanding voice, introduced Aerosmith to the stage. Steven Tyler, Joe Perry and the rest of the band started playing the first few notes to “Walk This Way” before Tyler suddenly stopped and told Perry there was “something missing.” Just as they’d done at The Hollywood Bowl two weeks ago, Run and DMC appeared from opposite sides of the stage to perform the crossover smash, elating the crowd.
While the 2026 iteration of the annual ceremony was mostly a success, a few things were glossed over. Gram Parsons and Ed Sullivan’s segments felt incomplete. Rumors Paul McCartney and Ringo Starr were somehow involved with the Sullivan induction ran rampant backstage, considering the Beatles’ rich history with The Ed Sullivan Show, it would have made sense. But alas, it came and went without much fanfare.
The In Memoriam portion paid tribute to a long list of musical figures we’ve lost, including Afrika Bambaataa, Rob Base, producer Bob Power, Traffic’s Dave Mason, ZZ Top’s Frank Beard and the Grateful Dead’s Bob Weir, who deserved much more than a photo flashing across a screen. Dolly Parton, however, was allotted a significant highlight reel, capturing the magic that made Dolly Dolly.
But the Rock and Roll Hall of Fame exists to ensure they are remembered long after they are gone. It’s not perfect and maybe they don’t always get it “right.” Gene Simmons may still be infuriated that hip-hop and R&B are welcome. Iron Maiden still might scoff at the idea as a whole. The Gallagher brothers might stick up their middle fingers. But still, it goes on—what’s more rock and roll than that?
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